fila brazillia

Remix albums and DJ albums have always proved a challenge to tag in a useful and logical manner because of how they differ from the traditional song-artist-album tagging model. Like compilations, remix albums typically include songs by a variety of artists and musicians. But they are released under the banner of a single artist and it is that artist that I associate that album with. For example, the album Brazilification has tracks by 18 different artists, all remixed by Fila Brazilia. Most, if not all the songs had been published before on each of the remixed artist’s own records or singles, but Brazilification collects them all and releases them under Fila Brazilia.

Oh what to do, what to do? The standard tagging fields don’t offer a clean way to deal with remix albums, so I’ve had to cobble together my own solutions. The methods I use have to be simple and straightforward to use on an iPod, whose navigation options is more limited than iTunes, but it also has to include all the pertinent information, song name including remix title, remixer, original artist and the album (plus genre and year).

Below are the two approaches I’ve developed. Neither one has really worked to my 100% satisfaction, though.

Method One: Remixer as Artist

This scheme is the more predominate one in my library. I’ve been using it for a long time, but have never been that happy with it. In a sense, the remixer is treated as though they have created a cover version of the original.

Artist Tag

Iin my mind, I associate the remixer/dj as the primary artist. It does have their name on the album cover after all. Thus, using the example above, Fila Brazillia is listed in the Artist field.

Album tag

The album tag, of course, is the album name.

Song Title

There’s no easy way to account for, identify and display the originating artist when the remixer is using the Artist field, so they are added to the beginning of the song name using this syntax:

Radiohead: Climbing Up the Walls

This way, I can easily navigate to the album on my iPod, glance at the track listings and see both the original artist and the song title.

Composer Tag

To make locating remixes in general easier, using my Composer tag guidelines, I identify the original artist again in the Composer tag, but surrounded by parentheses to separate them from actual composers.

Problems

This approach doesn’t work semantically. It puts inappropriate data in inappropriate fields in order to make the system function. To continue with the example above, song is technically titled Climbing Up The Walls (Fila Brazillia Mix) and the actual artist is Radiohead. If I had a copy of Radiohead’s Karma Police single, where the remix originally appeared, Radiohead would, quite properly, receive the artist tag.

Also, The scheme doesn’t play nice when my iTunes library interfaces with third-party applications. The song above is submitted to Last.fm as Fila Brazillia – Radiohead: Climbing Up the Wall, which acheives a disservice for both artists. On the site, it pollutes Fila Brazillia’s database of songs and at the same time, doesn’t provide proper credit to Radiohead.

Because the Artist tag has been misappropriated, this contorted design can interfere with statistics. And anyone who’s spent time around here knows that when it comes to my iTunes library I’m a statistics nut.

Brazilification using this first method. click to enlarge.

Additionally, I find it redundant to enter the original artist in two different places. I’ve been relatively unhappy with the scheme, so I recently began to explore other options.

Method Two: Remixer as “Composer”

One idea I’ve been toying with is swapping the Artist and Composer tags in the above scheme. Thus:

Artist Tag

The original artist name. (Ex. Radiohead). Gives appropriate credit source artists and allows them to be included in Smart Playlists that factor artists.

Compilation tag

Under this configuration, there would be multiple artists on the album, so the Compliation check box must be checked.

Album Tag

Takes the form of Remixer/DJ: Album Name (ex: Fila Brazillia: Brazilification). For easy identification when browsing. However, it does present another semantic problem in that it offers more information the album’s actual name. So the remixer could be left out. I’ll have to see how it works in practice.

Song Name

Song name (remix) (ex: Climbing Up the Walls (Fila Brazillia Mix). It’s only appropriate to give each song its appropriate name.

Composer

The remixer, again surrounded by paranthasese to keep it separated and sorted from actual composers.

Instinctively, I like this design. I’ve not really had a chance to implement it on a large scale, but it holds potential to address the concerns I have with my current scheme.

Yes, it still has some redundancy, with the remixer listed both in the song name, album title and composer tag. However, with direct compilation support on newer model iPods, the use of the remixer in the album or composer tag could be omitted.

Using the Album Artist tag to identify the remixer/dj would actually solve all the problems with this plan. But the iPod’s current lack of support for the field leaves me having to use these workarounds. Let’s hope that Apple adds that increased functionality soon.

In any case, this new tagging format promises to make it rather easy to locate and identify all the songs, artists and remixers in both iTunes and the iPod. It also will work with Last.fm submissions and sorts everything nicely for my all-important statistics.

Update: The revised sorting feature/problem in iTunes 7.3 and later renders portions of this advice useless. Some of it still applies for Smart Playlist building, but the segregated sorting no longer works. If you’re using a version prior to 7.3, go nuts. If you’re using 7.3 or later, be warned.

In striving for zen-like simplicity while maintaining and extending the usability of iTunes, please follow me as I introduce you to the technique I use to keep my Composer tags orderly and navigable particularly when using an iPod. The idea is to streamline the presentation of the tags while adding meaning to them.

In my library there are three types of songs that require use of the composer tag:

Classical and other so-called “serious music”Principally includes all works by traditionally-recognized composers and performed by orchestras, quartets, etc. Also includes film and television recordings that are not the originals, such as when the Royal Philharmonic plays Star Trek or Trotter Trio’s jazz CD Sketches on Star Wars.

Cover songsWhether live or in studio, remakes or performances of songs that were originally recorded and released by another artist or group.

Remix Albums Collections of remixes of other artists’ songs released under the marquee of the remixer. For example: Fila Brazillia’s Brazilification.

If a song in my library doesn’t belong to one of those categories, the composer tag is left empty, completely blank. There’s no need to use the tag in the pop/rock idiom; all the relevant info is contained in the song-artist-album structure.

The same goes for movie scores and other “Original Motion Picture Soundtracks.” It’s redundant to put “John Williams” in both the artist and composer when it’s his recording of the original release of the album that you’re tagging.

Some people are tempted to put the songwriter in the Composer space and CDDB/Gracenote often includes it when retrieving a CD.

Well, don’t. And if you already have, delete it.

How likely are you to go to the Composer field and select “Cobain, Kurt” when you want to hear Heart-shaped Box? Not very, I’m sure. You are much more likely to select “Nirvana” from the Artist field. If you must obsessively keep that info, put it in the Comments field. That way you can still find it in your Encyclopedia iTunica if you need it, but it won’t get in the way of using your iPod.

So how do we keep these styles from intermingling, so that you don’t end up with Guns n’ Roses next to Gustav Mahler?

It’s rather easy; just add leading character to the beginning of your composer text based on the type of file it is, particularly if a song does not fall into the Classical category.

In my scheme, classical music takes priority, as it is the format that best benefits from using the field. In these cases, the composer is, well, the composer. Syntax is up to you: Mahler; Gustav Mahler; Mahler, Gustav; however you see fit to do it.

Likewise for film and tv music that’s not from the original release. I treat those recordings the same as classical. The Artist tag goes to the ensemble performing the work while the original composer gets credit in the Composer tag.

Cover Tunes

With cover tunes, the original performer’s name is surrounded by brackets [ ]. So when The Cardigans play a Black Sabbath song Iron Man, the Composer tag looks like this [Black Sabbath]. Now all the cover songs are sorted alphabetically together on the iPod. Plus, I can create a Smart Playlist with condition Composer starts with [ and have all of them gathered in a single spot. If new cover tunes get added in the future, they’re automatically included in the Smart Playlist.

Cover tunes smart playlist. Click to see larger version.

Finally, there’s remix albums. There’s a long discussion to be had about how to treat those with iTunes.

Hopefully, these suggestions are helpful and will assist in taking full advantage of iTunes’/iPod’s power.

i’ve done a fair amount of weeding over the past couple days and probably reduced the tunequest by a day as a result. some early pizzicato five (i like P5, but by her majesty’s request is unlistenable) and some aphrodite (my love affair with drum and bass has largely run its course) didn’t make the cut and were, well, cut. i also made the single largest removal to date: the emerson string quartet’s collection of shostakovich’s string quartets. nothing against the emersons or shostakovich, mind you, but string quartets, as a form of music, have always been a struggle for me to appreciate. i don’t doubt their musical worth, but i can’t get into string quartets. i’ve tried, but i guess i just prefer the power of the orchestra.

as it stands, i would not want to offend the spirit of shotsakovich, so i did especially listen to and enjoy his "waltz #2 from jazz suite" this evening. beautiful beautiful music that is.

forth tunequest:

peggy lee & george shearing [beauty and the beat!]

beth orton [central reservation]

london symphony performing elgar’s enigma variations

bjork [bachelorette]single

elbow [cast of thousands]

silver apples [contact]

the evil genius orchestra [cocktails in the cantina]

yoko kanno [cowboy bebop 2: no disc]

fila brazillia [brazillification]

delarosa and asora [agony part 1]

today’s tunequest is quite varied, from the glitch harmonics of scott herron’s delarosa project to peggy lee’s soothing siren song. the evil genius orchestra puts a humorous and swinging spin on everyone’s favorite star wars themes on cocktails in the cantina. personally, i think the the e.g.o.’s version of "princess leia’s theme" rivals the original. in fact, when putting together a list of mellow movie themes to be played as "mingle music" at my wedding reception i choose this version over john williams’. •

fila brazillia’sbrazilification is an endurance test of downtempo remixing. it is a mix album, however it is more of a ‘best of’ collection of previously-released mixes, rather than a dj album, so i don’t think my earlier criticism applies. the record is a two disc set that starts off very strong, with excellent remixes of songs by radiohead, moloko, phosphorous, and u.n.k.l.e. but after the first half of the first album, the set begins to fatigue and the beats begin to muddle together.

that’s less a problem with the duo and more a factor of the downtempo genre. while individual tracks can be quite outstanding, over time the inherent form of downtempo puts it at disadvantage for long term active listening. it really is better suited to background music, turned on and tuned out while you work on other projects, only occasionally taking interest in choice musical passages. in that regard, the length of brazilification is its one drawback. still, fila brazillia are excellent at what they do and i can’t recommend this one enough. •

speaking of front-loading, let’s talk beth orton. i was familiar with beth before i got central reservation in 1999 through her collaberations with the chemical brothers. her voice always added an element of humanity to the brothers’ explosive beats. her own music brings her flavor to the forefront, unburied beneath layers of synthesized sound. simple arraingments and addictive melodies highlight her sophmore release. it’s too bad it’s all crammed in the first few songs. the record begins to sound monotonous throughout its second half, tempting me to just get rid of those songs. if it weren’t the strength of the rest of the album (‘sweetest decline’ in particular) i probably would, but i never know when one of those songs will suddenly click with me. •

and silver apples’contact is quite interesting. i was prepared to dismiss it as yet another indulgence from my experimental youth, but it continues to pique my interest. •